Cultural Marxism

The origin of everything the average White hates traces back to the jew and his insistence that everyone believe and act exactly as he dictates.

Alex,

Two great articles that tie together seamlessly … which names names but fails to mention they are Zhids:

By inflicting sufficient ugliness upon us, the modern artists believe, they will wear down our capacity to see beauty.

Both political correctness and Critical Theory are in essence, psychological bullying.

Critical Theory is an ongoing and brutal assault via vicious criticism relentlessly leveled against Christians, Christmas, the Boy Scouts, Ten Commandments, our military, and all other aspects of traditional American culture and society.

February 15, 2007

Cultural Marxism

There are two misconceptions held by many Americans. The first is that communism ceased to be a threat when the Soviet Union imploded. The second is that the New Left of the Sixties collapsed and disappeared as well. “The Sixties are dead,” wrote columnist George Will (“Slamming the Doors,” Newsweek, Mar. 25, 1991)

Because the New Left lacked cohesion it fell apart as a political movement. However, its revolutionaries reorganized themselves into a multitude of single issue groups. Thus we now have for example, radical feminists, black extremists, anti-war â€˜peace’ activists, animal rights groups, radical environmentalists, and â€˜gay’ rights groups. All of these groups pursue their piece of the radical agenda through a complex network of organizations such as the Gay Straight Lesbian Educators Network (GSLEN), the American Civil Liberties Union (ACLU), People for the American Way, United for Peace and Justice, Planned Parenthood, Sexuality Information and Education Council of the United States (SIECUS), and Code Pink for Peace.

Both communism and the New Left are alive and thriving here in America. They favor code words: tolerance, social justice, economic justice, peace, reproductive rights, sex education and safe sex, safe schools, inclusion, diversity, and sensitivity. All together, this is Cultural Marxism disguised as multiculturalism.

Birth of Multiculturalism

In anticipation of the revolutionary storm that would baptize the world in an inferno of red terror, leading to its rebirth as the promised land of social justice and proletarian equality-Frederich Engels wrote,

“All the…large and small nationalities are destined to perish…in the revolutionary world storm… (A general war will) wipe out all…nations, down to their very names. The next world war will result in the disappearance from the face of the earth not only reactionary classes…but…reactionary peoples.” (“The Magyar Struggle,” Neue Rheinische Zeitung, Jan. 13, 1849)

By the end of WWI, socialists realized that something was amiss, for the world’s proletariat had not heeded Marx’s call to rise up in opposition to evil capitalism and to embrace communism instead. They wondered what had gone wrong.

Separately, two Marxist theorists-Antonio Gramsci of Italy and Georg Lukacs of Hungary-concluded that the Christianized West was the obstacle standing in the way of a communist new world order. The West would have to be conquered first.

Gramsci posited that because Christianity had been dominant in the West for over 2000 years, not only was it fused with Western civilization, but it had corrupted the workers class. The West would have to be de-Christianized, said Gramsci, by means of a “long march through the culture.” Additionally, a new proletariat must be created. In his “Prison Notebooks,” he suggested that the new proletariat be comprised of many criminals, women, and racial minorities.

The new battleground, reasoned Gramsci, must become the culture, starting with the traditional family and completely engulfing churches, schools, media, entertainment, civic organizations, literature, science, and history. All of these things must be radically transformed and the social and cultural order gradually turned upside-down with the new proletariat placed in power at the top.

The Prototype

In 1919, Georg Lukacs became Deputy Commissar for Culture in the short-lived BolshevikBela Kun regime in Hungary. He immediately set plans in motion to de-Christianize Hungary. Reasoning that if Christian sexual ethics could be undermined among children, then both the hated patriarchal family and the Church would be dealt a crippling blow. Lukacs launched a radical sex education program in the schools. Sex lectures were organized and literature handed out which graphically instructed youth in free love (promiscuity) and sexual intercourse while simultaneously encouraging them to deride and reject Christian moral ethics, monogamy, and parental and church authority. All of this was accompanied by a reign of cultural terror perpetrated against parents, priests, and dissenters.

Hungary’s youth, having been fed a steady diet of values-neutral (atheism) and radical sex education while simultaneously encouraged to rebel against all authority, easily turned into delinquents ranging from bullies and petty thieves to sex predators, murderers, and sociopaths.

Gramsci’s prescription and Lukacs’ plans were the precursor to what Cultural Marxism in the guise of SIECUS, GSLEN, and the ACLU–acting as judicially-powered enforcers–later brought into American schools.

Building a base

In 1923, the Frankfurt School-a Marxist think-tank-was founded in Weimar Germany. Among its founders were Georg Lukacs, Herbert Marcuse, and Theodor Adorno. The school was a multidisciplinary effort which included sociologists, sexologists, and psychologists.

The primary goal of the Frankfurt School was to translate Marxism from economic terms into cultural terms. It would provide the ideas on which to base a new political theory of revoltuion based on culture, harnessing new oppressed groups for the faithless proletariat. Smashing religion, morals, It would also build a constituency among academics, who could build careers studying and writing about the new oppression.

Toward this end, Marcuse-who favored polymorphous perversion-expanded the ranks of Gramsci’s new proletariat by including homosexuals, lesbians, and transsexuals. Into this was spliced Lukacs radical sex education and cultural terrorism tactics. Gramsci’s â€˜long march’ was added to the mix, and then all of this was wedded to Freudian psychoanalysis and psychological conditioning techniques. The end product was Cultural Marxism, now known in the West as multiculturalism.

Additional intellectual firepower was required: a theory to pathologize what was to be destroyed. In 1950, the Frankfurt School augmented Cultural Marxism with Theodor Adorno’s idea of the â€˜authoritarian personality.’ This concept is premised on the notion that Christianity, capitalism, and the traditional family create a character prone to racism and fascism. Thus, anyone who upholds America’s traditional moral values and institutions is both racist and fascist. Children raised by traditional values parents, we are told to believe, will almost certainly become racists and fascists. By extension, if fascism and racism are endemic to America’s traditional culture, then everyone raised in the traditions of God, family, patriotism, gun ownership, or free markets is in need of psychological help.

The pernicious influence of Adorno’s â€˜authoritarian personality’ idea can be clearly seen in some of the research that gets public money.

“In Aug., 2003, the National Institute of Mental Health (NIMH) and the National Science Foundation (NSF) announced the results of their $1.2 million tax-payer funded study. It stated, essentially, that traditionalists are mentally disturbed. Scholars from the Universities of Maryland, California at Berkeley, and Stanford had determined that social conservatives…suffer from â€˜mental rigidity,’ â€˜dogmatism,’ and â€˜uncertainty avoidance,’ together with associated indicators for mental illness.” http://www.edwatch.org/ â€˜Social and Emotional Learning” Jan. 26, 2005)

The Orwellian cast of the pathologies named shows how far Gramsci’s long march has led us.

A corresponding and diabolically crafted idea is political correctness. The strong suggestion here is that in order for one not to be thought of as racist or fascist, then one must not only be nonjudgmental but must also embrace the â€˜new’ moral absolutes: diversity, choice, sensitivity, sexual orientation, and tolerance. Political correctness is a Machiavellian psychological â€˜command and control’ device. Its purpose is the imposition of uniformity in thought, speech, and behavior.

Critical theory is yet another psychological â€˜command and control’ device. As stated by Daniel J. Flynn,

“Critical Theory, as its name implies, criticizes. What deconstruction does to literature, Critical Theory does to societies.” (Intellectual Morons, p 15-16)

Critical Theory is an ongoing and brutal assault via vicious criticism relentlessly leveled against Christians, Christmas, the Boy Scouts, Ten Commandments, our military, and all other aspects of traditional American culture and society.

Both political correctness and Critical Theory are in essence, psychological bullying. They are the psycho-political battering rams by which Frankfurt School disciples such as the ACLU are forcing Americans to submit to and to obey the will and the way of the Left. These devious devices are but psychological versions of Georg Lukacs and Laventi Beria’s â€˜cultural terrorism’ tactics. In the words of Beria,

“Obedience is the result of force…Force is the antithesis of humanizing actions. It is so synonymous in the human mind with savageness, lawlessness, brutality, and barbarism, that it is only necessary to display an inhuman attitude toward people to be granted by those people the possessions of force.” (The Russian Manual on Psychopolitics: Obedience, by Laventi Beria, head of Soviet Secret Police and Stalin’s right-hand man)

Double-thinking â€˜fence-sitters’, otherwise known as moderates, centrists, and RINOs bear the imprint of these psychological â€˜obedience’ techniques. These people-in some cases literally afraid of incurring the wrath of name-calling obedience trainers— have opted to straddle the fence lest they be found guilty of possessing an opinion, one way or another. At the merest hint of displeasure from the obedience-trainers, up goes the yellow flag of surrender upon which it is boldly written:

“I believe in nothing and am tolerant of everything!”

Cultural Determinism

The linchpin of Cultural Marxism is cultural determinism, the parent of identity politics and group solidarity. In its turn, cultural determinism was birthed by the Darwinian idea that man is but a soulless animal and therefore his identity is determined by for example, his skin color or his sexual and/or erotic preferences. This proposition rejects the concepts of the human spirit, individuality, free will, and morally informed conscience (paired with personal accountability and responsibility) because it emphatically denies the existence of the God of the Bible.

Consequently, and by extension, it also rejects the first principles of our liberty enumerated in the Declaration of Independence. These are our “unalienable rights, among which are life, liberty, and the pursuit of happiness.” Cultural Marxism must reject these because these principles of liberty “are endowed by our Creator,” who made man in His image.

Cultural determinism, states David Horowitz, is

“identity politics-the politics of radical feminism, queer revolution, and Afro-centrism-which is the basis of academic multiculturalism…a form of intellectual fascism and, insofar as it has any politics, of political fascism as well.” (Mussolini and Neo-Fascist Tribalism: Up from Multiculturalism, by David Horowitz, Jan. 1998)

It is said that courage is the first of the virtues because without it fear will paralyze man, thus keeping him from acting upon his moral convictions and speaking truth. Thus bringing about a general state of paralyzing fear, apathy, and submission-the chains of tyranny-is the purpose behind psychopolitical cultural terrorism, for the communist Left’s revolutionary agenda must, at all costs, be clothed in darkness.

The antidote is courage and the light of truth. If we are to win this cultural war and reclaim and rebuild America so our children and their children’s children can live in a â€˜Shining City on the Hill’ where liberty, families, opportunity, free markets, and decency flourish, we must muster the courage to fearlessly expose the communist Left’s revolutionary agenda to the Light of Truth. Truth and the courage to speak it will set us free.

Why is it that the audience for modern art is quite happy to take in the ideological message of modernism while strolling through an art gallery, but loath to hear the same message in the concert hall? It is rather likecommunism, which once was fashionable among Western intellectuals.

COMMUNIST GOALS: 1963

22. Continue discrediting American culture by degrading all forms of artistic expression. An American Communist cell was told to “eliminate all good sculpture from parks and buildings, substitute shapeless, awkward and meaningless forms.”

There are esthetes who appreciate the cross-eyed cartoons of Pablo Picasso, the random dribbles of Jackson Pollock, and even the pickled pigs of Damien Hirst. Some of my best friends are modern artists. You, however, hate and detest the 20th century’s entire output in the plastic arts, as do I.

“I don’t know much about art,” you aver, “but I know what I like.” Actually you don’t. You have been browbeaten into feigning pleasure at the sight of so-called art that actually makes your skin crawl, and you are afraid to admit it for fear of seeming dull. This has gone on for so long that you have forgotten your own mind. Do not fear: in a few minutes’ reading I can break the spell and liberate you from this unseemly condition.

First of all, understand that you are not alone. Museums are bulging with visitors who come to view works they secretly detest, and prices paid for modern art keep rising. One of Jackson Pollock’s drip paintings sold last year for US$140 million, a striking result for a drunk who never learned to draw, and splattered paint at random on the canvas.

Somewhat more modest are the prices paid for the grandfather of abstract art, Wassily Kandinsky (1866-1944), whose top sale price was above $40 million. An undistinguished early Kandinsky such as Weilheim-Marienplatz (43 by 33 centimeters) will sell for $4 million or so by Sotheby’s estimate. Kandinsky is a benchmark for your unrehearsed response to abstract art, for two reasons. First, he helped invent it, and second, he understood that non-figurative art was one facet of an esthetic movement that also included atonal music. Kandinsky was the friend and collaborator of the grandfather of abstract music, composer Arnold Schoenberg (1874-1951), who also painted. Schoenberg, like Kandinsky, is universally recognized as one of the founders of modernism.

Kandinsky attended a performance of Schoenberg’s music in 1911, and afterward wrote to Schoenberg:

Please excuse me for simply writing to you without having the pleasure of knowing you personally. I have just heard your concert here and it has given me real pleasure. You do not know me, of course – that is, my works – since I do not exhibit much in general, and have exhibited in Vienna only briefly once and that was years ago (at the Secession). However, what we are striving for and our whole manner of thought and feeling have so much in common that I feel completely justified in expressing my empathy. In your works, you have realized what I, albeit in uncertain form, have so greatly longed for in music.

Kandinsky was entirely correct in his judgment. An enormous literature exists on the relationship between abstract painting and atonal music, and the extensive Kandinsky-Schoenberg correspondence can be found on the Internet. For those who like that sort of thing, as Abraham Lincoln once said, it is just the sort of thing they would like.

The most striking difference between the two founding fathers of modernism is this: the price of Kandinsky’s smallest work probably exceeds the aggregate royalties paid for the performances of Schoenberg’s music. Out of a sense of obligation, musicians perform Schoenberg from time to time, but always in the middle and never at the end of a program, for audiences flee the cacophony. Schoenberg died a poor man in 1951, and and his widow and three children barely survived on the copyright royalties from his music. His family remains poor, while the heirs of famous artists have become fabulously wealthy.

Modern art is ideological, as its proponents are the first to admit. It was the ideologues, namely the critics, who made the reputation of the abstract impressionists, most famously Clement Greenberg’s sponsorship of Jackson Pollock in The Partisan Review. It is not supposed to “please” the senses on first glance, after the manner of a Raphael or an Ingres, but to challenge the viewer to think and consider.

Why is it that the audience for modern art is quite happy to take in the ideological message of modernism while strolling through an art gallery, but loath to hear the same message in the concert hall? It is rather like communism, which once was fashionable among Western intellectuals. They were happy to admire communism from a distance, but reluctant to live under communism.

When you view an abstract expressionist canvas, time is in your control. You may spend as much or as little time as you like, click your tongue, attempt to say something sensible and, if you are sufficiently pretentious, quote something from the Wikipedia write-up on the artist that you consulted before arriving at the gallery. When you listen to atonal music, for example Schoenberg, you are stuck in your seat for a quarter of an hour that feels like many hours in a dentist’s chair. You cannot escape. You do not admire the abstraction from a distance. You are actually living inside it. You are in the position of the fashionably left-wing intellectual of the 1930s who made the mistake of actually moving to Moscow, rather than admiring it at a safe distance.

That is why at least some modern artists come into very serious money, but not a single one of the abstract composers can earn a living from his music. Non-abstract composers, to be sure, can become quite wealthy, for example Baron Andrew Lloyd Webber and a number of film composers. American Aaron Copland (1900-90), who mainly wrote cheerful works filled with local color (eg, the ballets Billy the Kid and Appalachian Spring), earned enough to endow scholarships for music students. Viennese atonal composer Alban Berg (1885-1935) had a European hit in his 1925 opera Wozzeck, something of a compromise between Schoenberg’s abstract style and conventional Romanticism. His biographers report that the opera gave him a “comfortable living”.

After decades of philanthropic support for abstract (that is, atonal) music, symphony orchestras have given up inflicting it on reluctant audiences, and instead are commissioning works from composers who write in a more accessible style. According to a recent report in the Wall Street Journal, the shift back to tonal music “comes as large orchestras face declining attendance and an elderly base of subscribers. Nationwide symphony attendance fell 13% to 27.7 million in the 2003-04 season from 1999-2000, according to the American Symphony Orchestra League.”

The ideological message is the same, yet the galleries are full, while the concert halls are empty. That is because you can keep it at a safe distance when it hangs on the wall, but you can’t escape it when it crawls into your ears. In other words, your spontaneous, visceral hatred of atonal music reflects your true, healthy, normal reaction to abstract art. It is simply the case that you are able to suppress this reaction at the picture gallery.

There are, of course, people who truly appreciate abstract art. You aren’t one of them; you are a decent, sensible sort of person without a chip on your shoulder against the world. The famous collector Charles Saatchi, proprietor of an advertising firm, is an example of the few genuine admirers of this movement. When Damien Hirst arranged his first student exhibition at the London Docklands, reports Wikipedia, “Saatchi arrived at the second show in a green Rolls-Royce and stood open-mouthed with astonishment in front of (and then bought) Hirst’s first major ‘animal’ installation, A Thousand Years, consisting of a large glass case containing maggots and flies feeding off a rotting cow’s head.”

The Lord of the Flies is an appropriate benchmark for the movement. Thomas Mann in his novel Doktor Faustus tells the story of a composer based mainly on Arnold Schoenberg, whom resentment drives to make a pact with the Devil. Mann’s protagonist cannot create, so out of rancor sets out to “take back” the works of Ludwig van Beethoven, by writing atonal lampoons of them that will destroy the listener’s ability to hear the original.

Many critics maintain that Picasso’s famous painting originally named “The Bordello at Avignon” (Les Demoiselles d’Avignon) was the single most influential modernist statement. In this painting Picasso lampooned El Greco’s great work The Vision of St John. Picasso reduces the horror of the opening of the Fifth Seal in the Book of Revelation to a display of female flesh in a whorehouse. [1] Picasso is trying to “take back” El Greco, by corrupting our capacity to see the original.

By inflicting sufficient ugliness upon us, the modern artists believe, they will wear down our capacity to see beauty. That, I think, is the point of putting dead animals into glass cases, or tanks of formaldehyde. But I am open-minded; there might be some value to this artistic technique after all. If Damien Hirst were to undertake a self-portrait in formaldehyde, I would be the first to subscribe to a commission.

One Response to “Cultural Marxism”

What is art? Art is a way of pleasing the higher faculties as an end in itself, not as a byproduct of their exercise in a utilitarian pursuit. Simply put, art gives our brains and hearts a pleasurable work out.

Pleasure is key. Since art isn’t practical, it’s worthwhile only if pleasurable – stimulating, moving, etc. in the positive sense of those terms.

Like any good human endeavor or craft, art requires of its maker focus, work, skill, painstaking effort, fine sensitivity, and thought.

Now look at jew modern art. 1. It isn’t pleasurable. 2. No skill or (coherent) thought is involved in its creation.

Splashing paint around randomly is not an exercise of skill intended to elicit a pleasurable exercise of mind and heart on the part of the viewer. It isn’t art. What it is, is dung – and overwhelmingly boring.

Seriously, how excited are you by Pollock’s drippings? I like them because I like paint, but I get the same experience when I open a paint can (better, because the canned paint is fresh). But smelling paint ain’t art, anymore than smelling oranges or sniffing glue is. That’s my best case in favor of Pollock’s stuff. Note I did not say “work.”

Lastly, think of all the “air men” – the art critics – the scribbling, typing, jabbering con men, talking up this shit. The ratio of time spent bullshitting about “art” to actually making or experiencing it is about 10000:1, in the backscratching world o’ kikes who fetch their living by emitting smoke. It has long been observed that the art world is a gigantic swindle; that isn’t new; but how many observers have named the jew? Few.

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